Udi Hrant Kenkulian

All Music Guide:

Known as the blind master of the oud, or ud, the 12-string fretless lute, Udi Hrant (birth name: Hrant Kenkulian; his adopted nickname of Udi denotes his mastery) is a legendary figure of Middle Eastern music. Perhaps the instrument's greatest modern stylist as well as a vocalist of deep emotion, he is sometimes also known as "Hrant Emre" ("of the soul"). Hrant's yearning, mournful singing and stark improvisational expertise have drawn comparisons to major American roots figures such as Robert Johnson and Doc Watson. Also a violinist of stunning, expressive facility, Hrant composed songs that have become standards of Turkish music; his most famous piece, "Hastayim Yasiyorum" ("I Am Sick, Yet I Am Living"), has been recorded by scores of later artists.

Born near Istanbul in 1901, Hrant was declared blind four days after birth. In spite of numerous treatments, he was to remain blind but developed a musical ear of keen supremacy. An Armenian by birth, he first learned music by singing in church. His family escaped the massacres of Armenians by Turkish troops in 1915 by fleeing to the city of Konya, where young Hrant began oud lessons.

In 1918, Hrant's family returned to Istanbul, where he studied with several famous local teachers. When Hrant began performing, it was difficult to find employment. Known as the New York of the Mideast, the culturally thriving city was already home to many exceptional musicians, and, because he was blind, no ensembles would take him. To survive, Hrant was forced to take low-paying solo gigs in small cafés and to sell instruments out of his brother-in-law's tailor shop.

Just when things seemed hopeless, Hrant was discovered by noted musician/composer Serif Icli while playing at a café. This exposure lead to radio concerts and, in 1920, a recording contract with RCA Victor/His Master's Voice. (He would also record for the Balkan, Perfectaphone, Yildiz, Smyrnaphon, and Istanbul labels into the '50s.)

Udi Hrant's command of the art of the taksim -- lengthy improvisation based on a given set of scales or modes -- is his most glorious and influential contribution to Middle Eastern music. Hrant's prowess far exceeds the musical and technical levels of his day, and features fleet, ascending runs, left-hand pizzicato, and octave doubling (tuning of paired notes in octaves).

Hrant's reputation spread across the Mideast, leading to concerts in Europe and the Soviet Union. In 1950, despite his reservations about Americans' perceptions of Middle Eastern music, Hrant was persuaded to visit the U.S. for a series of concerts. He then returned to Turkey for radio work and to teach young musicians.

In 1977, a jubilee concert assembled some of Turkey's most renowned singers and musicians to honor Hrant's 60-year career. A victim of cancer, he died on August 29, 1978, five moths after his last performance.

In 1994, Traditional Crossroads released Udi Hrant's Kenkulian, comprised of recordings from his 1950 New York shows, followed by The Early Recordings, Vol. 1 and Vol. 2 in 1995.

Wikipedia:

Udi Hrant Kenkulian (1901–August 29, 1978), often referred to as Udi Hrant ("oud-player Hrant") or as Hrant Emre ("Hrant of the soul") was an oud player of Turkish classical music, and a key transitional figure in its transformation into a contemporary popular music. He was an ethnic Armenian citizen of Turkey who spent most of his life in Turkey and wrote most of his lyrics in Turkish. He went to the United States of America to have his blindness treated, and performed while in America.

As an oud player, he was a major innovator, introducing left-hand pizzicato, bidirectional picking (the tradition had been to use the pick only on the downstroke), double stops, and novel tunings (sometimes using open tunings or tuning the paired strings in octaves instead of to a single note). According to Harold G. Hagopian, he was most respected for his improvisational taksim.

Born near Istanbul, declared blind four days after his birth, Hrant as a child sang in the choir of an Armenian Apostolic Church. His family fled to Konya in 1915 to escape the Armenian Genocide; there Hrant first studied the oud, with a teacher named Garabed. In 1918 the family returned west, first to Adapazarı and then to Istanbul, where Hrant continued his musical studies under some of the leading teachers of the time, including Kemani Agopos Ayvazyan, Dikran Katsakhian, and Udi Krikor Berberian. Somewhere along the way he also learned to speak French, and was actually accepted at age 16 to a Paris-based school for the blind, but he contracted typhoid fever and was unable to travel.

Several attempts (including by doctors in Vienna) failed to restore his eyesight, which prevented him from playing in ensembles. He made a modest living playing in cafes, giving music lessons, and selling instruments. There is some question about when he first recorded; he claimed to have made a record as early as age 19, but his earliest known recordings would appear to be from no earlier than 1927, since they used an electronic microphone.

In 1928, he fell in love with Ağavini, the sister of one of his students, but her parents would not let her marry a musician; they met again by accident in 1937 and married ten years later. In the meantime, he had written numerous songs about his desire for an absent love.

He slowly, but steadily, gained more fame as a musician. Some of his Turkish recordings were released internationally as early as the 1930s, first on RCA Victor, and later on such labels as Balkan (New York), Perfectaphone and Yildiz (probably, according to Hagopian, a single company, address unknown), and Istanbul (Los Angeles). Composer Şeirf Içli introduced him to Kanuni Ismail Şençalar, in whose group he played for a while, leading to opportunities to perform on Ankara Radio. In 1950, a wealthy Greek American brought him to America for another (unsuccessful) attempt at restoring his eyesight. The trip, however, led to a series of concerts in New York City, Boston, Detroit, Los Angeles, and Fresno, California, playing both Turkish classical music and his own compositions. This tour apparently increased his prestige at home: he began to perform frequently on Istanbul Radio, first as a soloist and later with a chorus he formed. It also recorded in U.S. recording sessions for Smyrnaphon and Oriental Moods. The former, according to Hagopian, are marred by his being "paired... with inferior musicians". The latter were a deluxe set, believed to be the first ever inclusion of an oud with a violin and piano in a chamber music setting, issued in an elaborately packaged set with English language titles given to the songs. The recording included both Hrant's originals and classic songs by Kanuni Artaki, Bimen Şen, and others. During his trips to the U.S., he conducted master classes with young Armenian-American oud players such as Richard Hagopian, and Harry Minassian.

His recordings for Balkan, (with Şükrü Tunar on clarinet, Ahmet Yatman on kanun and Ali Kocadine on drum, are notable for the fact that although they were recorded in Turkey, with a mix of Turkish and Armenian musicians, they include lyrics in Armenian; he also did other records with Turkish lyrics with the same line-up. His original songs written in Armenian include "Parov Yegar Siroon Yar," "Siroon Aghchig," "Anoosh Yaren Heratsa," "Khrjit," and "Srdis Vra Kar Me Ga."

He toured internationally again in 1963, playing in Paris, Beirut, Greece, the United States, and Yerevan, then the capital of the Armenian Soviet Socialist Republic. He recorded again in the U.S. at this time, but according to Hagopian the recordings are "inferior... for small labels and record producers eager to capitalize on the 'belly-dance craze'".

His last performance was in Istanbul in April 1978, at which time he was already suffering from the cancer that would kill him that August.

Recordings

The only Udi Hrant recordings currently in print would appear to be: